• In hall 7 of the museum we may find the work commissioned to José Francisco Javier del Santísimo Sacramento, a pardo born on 1749, of slave parents property of the monastery of the Teresian nuns. Luis Roberto Altamira points out that Sacramento had been taught the craft by Brother Antonio Negle, who also taught him to mix the colours.

It is also known that Sacramento had his own workshop when he was 19 years old and that in 1775 was called to produce, with his knowledge of artistic painting, a report to the King on the status of the works of the cathedral, responsibility of the bishop and the governor. Apparently, Sacramento was not a consummate painter, but he limited himself to copy old oil paintings produced in other regions of the Americas and prints from Europe. Anyway, five paintings kept in the monastery of the Independencia Street are attributed to him: a painting of the Divine Face, two paintings of the nuns Teresa de Jesús and Catalina de Cristo, and the effigies of the lay sisters Teresa Luisa de San Angelo and Ana de Jesus. The latter is no other than Maria Magdalena de Tejeda y Guzman, daughter of Don Juan Tejeda. The specialists believe that Sacramento copied the figures of the nuns and their immediate surroundings from paintings that arrived from Alto Peru (currently Bolivia) and even from Cusco, to which he conferred specific facial features. Both his parents as Sacramento himself, until their manumission, had been the slaves of the nun Maria del Sacramento, from which the painter took his last name, a lady that in such century was no other than Doña Maria Magdalena de la Vega, widow of General Pablo Guzman, and mother-in-law of Don Juan of Tejeda, the original owner of the property where the museum is lodged. It is assumed that Francisco Javier del Sacramento obtained his condition of "pardo libre" (free person of Indian and black ancestry) before 1786, according to the hypothesis of Jesuit priest Pedro Grenón. In the census of 1813, when he was already 64 years old, Sacramento appears as painter by occupation, with wife and daughters dressmakers and sons and sons-in-law who were tailors, in addition to a grandson registered as a musician. In that year of 1813, Francisco paints the national Argentinean coat of arms on the façade of the town hall at the request of this corporation and according to the provisions of the historic Assembly, the same that had decreed the free womb law for all those born of a slave mother from that moment on.  Full freedom for the black slaves would only be acknowledged by the constitution of 1853, forty years later, and in the whole extension of the present-day Argentinean territory as of 1862, when Mitre adhered with reservations to the contents of the Magna Carta. Francisco Javier del Sacramento writes his will on 1809 and it is speculated that his remains, like those of a predeceased son, were buried at the very monastery of the Barefooted Carmelites, shrouded with the habit of La Virgen del Carmen (Lady of Mount Carmel).[1].

• Above the eastern gallery east of the museum´s courtyard we may find crosses in wrought iron, 19th century, of the cemetery of Tegua, a locality of the provincial south. They were donated in 1986 by painter Egidio Cerrito. They belonged to his private collection.

In their composition we may observe a design of African influence, an "adinkra" symbol used by the cultures of West Africa and known as "sankofa". The "adinkra" symbols represent abstract and complex concepts. Each symbol has a name, its own meaning and a proverb. These meanings often reflect religious beliefs, values, philosophical thoughts and the historic past.

• "Sankofa" means "come back and take it". The importance of remembering the past and learning from it. It is represented by means of an almost circular bird. It urges to look at the past to create a future and to not forget.
• A piece of terra-cotta is exhibited on hall 8 of the museum. It is a vessel with handles of African manufacture (according to archaeologist Alfonso Uribe, it is a bedpan): A vessel in the shape of a slightly truncated cone with a slightly outward mouth. It has two semicircular handles towards the middle of the body, on the face outside an irregular but smooth surface. It is light brown with dark and black spots. 17th century. Made in Cordoba. Domestic use. It belongs to the San Jose Monastery of Barefooted Carmelites.
• Francisco Javier del Sacramento stood out among the painters, of African descent; he was born in Cordoba in 1749. Two of his works are exhibited at the Juan de Tejeda Religious Art Museum and are portraits of the lay sisters Teresa Luisa de San Angelo and Ana Maria de la Madre de Dios. It is probable that both he and one of his sons are buried in the Santa Teresa Church of the Monastery of Barefooted Carmelites of San Jose since he requested it specifically on his will.

In hall 7 of the museum we may find a wooden frame surrounding a window with doors made by Francisco Javier del Sacramento. This "small cabinet" called "taca", term of Arab Hispanic origin (táq) meaning window, is a two-part in-built piece of furniture. The lower part is stretched horizontally and has a polychrome-wooden frame imitating marble. There are another two doors, with iron lock, partially gilded. On the outside of the above mentioned doors, there are two novices with baby Jesus, in front of a window from which a tree is seen. Inside the doors there are two portraits of Carmelite nuns. The superior part has the shape of a classical porch, flanked by two mouldings with golden volutes. In the tympanum, in dark background, one may read "Year of 1768". The set frames a niche with a masonry stand.

Furthermore, one can read, in the stand of the upper piece "JPH FRANco XAVIER DEL S. SACRA". In the lower piece, on the external side "H. TERESA LUISA DE S. ANGELO" and "ANA MARÍA DE LA M. DE D.". On the inner side to the left and right respectively one can read "MNA. DE IESU" and to the right "B. CATHARINA DE XPO." And in the upper side on a white ribbon cartouche, painted "DOCUISTI ME DOMINE A INVENTUTE MEA".

Currently the doors are fixed to the wall and therefore we can only see to the left the copy made by Francisco Javier del Sacramento of a portrait of the 17th century (original by Juan Bautista Daniel) representing the nun Ana Maria de la Madre de Dios, that is to say Ana Maria Guzman, the widow of Juan de Tejeda. The original portrait would have arrived in bad condition around the mid 18th century so that they would have commissioned a copy to the Afro descendent artist. It is a painting on wood.

To the right we may observe the portrait of Sister Teresa de Jesus (Maria Magdalena Tejeda according to L.R. Altamira); it is an oil painting on cloth. Luis Roberto Altamira attributes it to Francisco Javier del Sacramento, while Schenone attributes it to Danish painter Juan Bautista Daniel because of the difference regarding the painting on the wood board by Francisco del Sacramento.